


Chang is Missing

by MelindaYoung



Category: Simon and Simon (TV)
Genre: Gen, Screenplay/Script Format
Language: English
Status: Completed
Published: 1986-11-01
Updated: 1986-11-01
Packaged: 2021-02-25 12:01:45
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 9,603
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/22135756
Author URL: https://archiveofourown.org/users/MelindaYoung/pseuds/MelindaYoung
Summary: Rick and A. J. help a woman who's being pursued by bad characters -- and who has amnesia and no explanation for the huge amount of cash she's carrying in a briefcase.





	Chang is Missing

**Author's Note:**

> I wrote this as a spec script for "Simon and Simon." Unfortunately, Tim Reid left the cast for "Frank's Place" before I got it finished, so it went into my "might have been" collection.
> 
> This story has not been authorized to be made available through third-party apps, especially fee-based apps. If you are reading this through an app, it has been copied illegally. Please report this copyright violation to the author on the Archive of Our Own website: archiveofourown.org/works/22135756
> 
> Original elements in this story Copyright (c) Melinda Young 2020

11/1/86

SIMON AND SIMON

"CHANG IS MISSING"

By Melinda Young

CAST

A.J. SIMON

RICK SIMON

CECILIA SIMON

DOWNTOWN BROWN

TEMPLE HILL

CHRIS

DR. JOHN GUARD

GEORGE MORTON

SGT. LAWRENCE

SUPERMARKET BUSBOY

MARGARET

NEWSPAPER DESK CLERK

GOON

GOON

SIMON AND SIMON

"Chang is Missing"

FADE IN:

EXT. SUPERMARKET--DAY

CECILIA SIMON comes out of the market, followed by a BUSBOY, who is pushing her loaded shopping cart.

BUSBOY

This is quite a load, Mrs. Simon. What's the occasion?

CECILIA

(proudly)

My sons just broke up that big extortion ring. It was in all the papers. Didn't you see it?

BUSBOY

Not really.

CECILIA

Oh. Well, I'm having a farewell party for them. They're going to the Bahamas for two weeks.

BUSBOY

Must be nice.

They walk to her car, and he begins to load her bags into the car. Cecilia notices a disheveled young woman, CHRIS, at the nearby bus stop. The woman looks like a caricature of a white collar commuter: She is in her early 30s and wears a nice suit, under her arm a satchel and newspaper. But her hair is uncombed, her clothes are torn and dirty, and she looks unsure of where she is. She is clutching the satchel and newspaper with uncertainty. Cecilia looks at her with concern.

CECILIA

Do you see that woman over there?

The busboy looks, then shrugs.

BUSBOY

Yeah, her. She's been there for two days.

CECILIA

Two days? Hasn't anyone done anything for her?

BUSBOY

Hey, nobody likes to get involved with loonies.

The boy finishes loading the car as Cecilia watches the young woman sadly. A bus pulls up to the stop, and as the other people get on and off, the woman looks at the bus as if for a clue for what she should do. The bus pulls away, and the woman looks around, alone and a little frightened.

BUSBOY

There you go, Mrs. Simon. See you next week.

CECILIA

Goodbye.

The bus boy leaves with the cart, and Cecilia gazes at the young woman sadly.

ESTABLISHING A.J.'S HOUSE--DAY

INT. A.J.'S LIVING ROOM--DAY

Rick is sitting on the couch, his feet up, reading from a brochure.

RICK

Hey, A.J., listen to this: "St. Thomas is known for the crystal blue waters of St. Thomas Bay. The water temperatures never dip below a sultry 80 degrees, and the pure white beaches are a swimmer's delight year 'round."

A.J. appears, holding two shirts, trying to decide between them.

A.J.

Since when are you the avid swimmer?

RICK

Since I read the last Sports Illustrated swim suit issue. Whew! I better get a second pair of binoculars. I may wear out the first pair.

A.J.

Rick, which shirt do you think I should ...

A.J. sees Rick's reclining pose for the first time.

A.J.

(continuing)

You're not even packing!

RICK

I'm getting around to it.

A.J.

We're leaving tomorrow at 10 a.m.

RICK

So that gives me all night.

A.J.

Don't forget Mom's dinner.

RICK

(he had forgotten)

Oh, yeah.

A.J.

That'll be a couple hours at least.

RICK

Come on, A.J., what all do I need in St. Thomas? Suntan lotion, a swimming suit -- maybe -- binoculars.

Rick drifts off into a smile. A.J. glowers.

A.J.

Rick! I am not going to be held up by you again.

RICK

What do you mean, again?

A.J.

I need this vacation. And if we're not at the airport exactly when they want us, we forfeit everything. If you're not there, too bad. I'll send a postcard.

RICK

Come on, A.J.

A.J.

If you hadn't booked us on the cheapest charter known to man --

RICK

Carlos spent the better part of two days finding this deal. We're saving a bundle.

A.J.

(pointedly)

No comment.

There is a KNOCK on the door, and Cecilia comes in.

CECILIA

Hi, boys.

RICK

Hi, Mom.

A.J.

Hi, Mom. Aren't you a little early?

CECILIA

I'm not here about dinner.

She steps towards the couch, but something crunches under her feet. She looks down.

CECILIA

(continuing)

Are those nails?

A.J. frowns at Rick.

A.J.

You said you'd cleaned those up.

RICK

Well, I meant to.

A.J.

I want those out of my house.

Rick leans over and scoops the nails into a box.

CECILIA

What on earth were you doing?

RICK

Just a little light carpentry.

CECILIA

In the house?

(to A.J.)

I don't know how you put up with him.

A.J.

Neither do I.

Rick finishes picking up and resumes lounging.

A.J.

(continuing)

Out of the house.

RICK

Alright, alright. 

A.J.

Sorry, Mom. What was it you wanted?

CECILIA

There's a young woman down by the market. She looks like she needs help.

A.J.

What kind of help?

CECILIA

I'm not sure. She looks ... lost.

RICK

Shouldn't you call Travelers Aid?

CECILIA

Not that kind of lost. Bewildered. Apparently, she's been there for two days.

Rick and A.J. look at each other, then at her.

A.J.

Mom, I think the Department of Social Services should handle it. I mean, street people --

CECILIA

(interrupting)

She's not a street person. She's a little tattered, but she's no bag lady, if that's what you mean.

RICK

Mom, don't worry. Eventually the police will pick her up for Vagrancy, and if she's not all there, she'll be given a nice clean place to stay.

CECILIA

I'm ashamed of you two. Here you are, about to go off and celebrate your good fortune, and you won't even think about taking time to help someone less fortunate.

Rick and A.J. are chagrined.

A.J.

Okay. Where is she?

CECILIA

She's at the bus stop across from the market parking lot.

A.J.

Don't worry. We'll take her to someone who can help her.

A.J. puts down the shirts and puts on a jacket. Rick goes back to reading his pamphlet. A.J. starts for the door, then stops to glare at Rick.

A.J.

(continuing)

Well? Aren't you coming?

RICK

I have to pack, remember?

A.J.

Oh, no, you don't.

RICK

Look, A.J., I was the one who broke the case. I suppose it wasn't your fault they locked you in the women's rest room.

A.J.

(angrily,

embarrassed)

Rick, ...

RICK

I provided the trip to St. Thomas. This one's on you.

CECILIA

You're both going. And that's final.

Rick reluctantly puts down the pamphlet and gets up.

RICK

Alright.

Rick and A.J. go to the door.

CECILIA

Thank you. Oh, and A.J., not the green shirt. You'll never get out the wrinkles without an iron.

A.J. smiles halfheartedly and they go.

EXTERIOR ESTABLISHING SHOT -- SUPERMARKET PARKING LOT--DAY

The Camaro pulls into the parking lot near the bus stop.

EXT. CAMARO--DAY

Rick and A.J. sit in the car. A.J. notices that Rick is still holding the box of nails in his lap.

A.J.

What are you going to do with those? Nail her to the bench if she tries to run away?

RICK

Ah, Jees.

He throws the nails into the glove compartment.

RICK

(continuing)

There. Satisfied?

A.J.

I hope you'll remember to remove those before we leave.

Rick gives him a sour look, then they look at the bus stop.

RICK

There she is.

EXT. BUS STOP--DAY

The young woman sits as before, clutching the satchel and newspaper. She sits as if waiting for someone to tell her what to do.

EXT. CAMARO--DAY

Rick and A.J. watch her.

RICK

Sad.

A.J.

Mom's right. She's no bag lady.

RICK

Yeah. She looks like she was climbing the ladder of success and missed a rung. So what are we going to do with her?

A.J.

The D.S.S., I guess. Maybe the Salvation Army.

They move to get out of the car, but they stop abruptly.

EXT. BUS STOP--DAY

As the woman sits at the stop, a nondescript sedan pulls up behind her. Two burly men get out and, after looking around, grab the woman. She fights back. As one man tries to subdue her, the other tries to wrench the satchel from her grip.

EXT. CAMARO--DAY

A.J. and Rick watch in surprise, then jump out of the car.

EXT. PARKING LOT/BUS STOP--DAY

Rick and A.J. run towards the struggling trio. The two men see them, and after a final unsuccessful tug on the woman they jump into the sedan, which speeds away. Rick and A.J. approach her gently. She does not look at them directly.

A.J.

Are you alright?

She nods.

RICK

Do you know who they were?

She shakes her head.

RICK

(continuing)

They sure seemed to know you.

She looks up at Rick, and her face flashes with astonishment.

CHRIS

Richard Simon.

Rick looks around, then at her.

RICK

Yeah. Do I know you?

CHRIS

I don't know. ... But I know you.

RICK

Who are you?

CHRIS

I don't know.

She is calm, almost matter-of-fact. Rick and A.J. exchange a glance.

A.J.

What are you doing here?

CHRIS

I don't know.

A.J.

Do you know how long you've been here?

CHRIS

(shakes head)

Couple days, I think.

(shrugs)

I've got amnesia.

Rick and A.J. look at each other in surprise.

EXT. A.J.'S HOUSE--DAY

INT. A.J.'S LIVING ROOM--DAY

A.J. and Cecilia sit facing Chris, who sits on the couch. Rick sits on the arm of the couch, above and slightly behind her.

CHRIS

The first thing I remember is being at that bus stop. A man next to me was reading this paper. And I knew I had to have it.

A.J.

Why?

CHRIS

I don't know. But I knew it was important. Life-and-death.

CECILIA

So you got that from him.

CHRIS

He wouldn't give it to me. I had to steal one from a newspaper machine. 

CECILIA

Steal?

CHRIS

I don't have any money. I'll have to pay them back.

A.J.

So you went back to the bus stop and waited.

CHRIS

I don't know why. I guess it was familiar.

A.J.

And then those men attacked you.

CHRIS

One of them was wearing really foul aftershave.

RICK

In all the movies I've seen about people with amnesia, not one's been half as sharp as you.

CHRIS

Well, I'd kind of like to find out who I am. And why I can't remember.

RICK

I've got an idea. Have you had a lot of headaches?

CHRIS

Almost gone. Why?

RICK

You've got a cut the size of a softball on the back of your head.

She touches the spot and winces with surprise. Cecilia comes to her with concern and looks at the wound.

CECILIA

Oh, that's awful. Let me clean that up.

Cecilia goes to the kitchen and gets a damp cloth.

RICK

And you have no idea how you got that.

CHRIS

I didn't even know I had it.

Cecilia comes back with the cloth and tends to Chris's wound.

A.J.

I hate to admit that my brother's right about something, but you are being quite rational about this. Why didn't you go to a police station?

CHRIS

(firm, with some fear)

I'm not supposed to.

A.J.

What about a hospital?

CHRIS

(more fear)

No. No hospitals.

Rick and A.J. share a glance. 

A.J.

I think you should see someone. Amnesia isn't a parlor game.

CHRIS

No. If you try taking me to a doctor, I'll run away.

She means it. They acquiesce.

CECILIA

(to Chris)

I think you'd feel a lot better after a shower and a change of clothes.

Cecilia and Chris stand up. Chris picks up the satchel and newspaper.

CECILIA

(continuing)

You don't need those in the shower.

Cecilia tries to take them from her. She reacts with near-panic and pulls them back sharply.

CHRIS

No!

CECILIA

(soothingly)

There, there. I didn't mean any harm. A.J. and Rick will take care of them for you. 

She looks at Cecilia, then at Rick. He nods and smiles reassuringly. She lets go hesitantly, and Cecilia puts the satchel and paper on the sofa.

CECILIA

(continuing)

They'll stay right there.

Chris looks at the paper and satchel, then frowns with frustration.

CHRIS

You're being so good to me. People have been treating me like a leper. I don't know how to thank you.

RICK

It's what any normal person would do.

A.J. and Cecilia look at him without accusation. 

CECILIA

Maybe we can even find some clean clothes that might fit you.

Cecilia leads Chris away. Rick and A.J. look at each other and sigh.

A.J.

Well. What do you think?

RICK

I think we got a real strange situation here.

They think in silence for a moment. Their eyes fall on the satchel. They look at each other, then Rick reaches for it and opens it up. Their mouths fall open. The satchel is bursting at the seams with money.

END ACT ONE

SIMON AND SIMON

"Chang is Missing"

ACT TWO

INT. A.J.'S LIVING ROOM--DAY

Rick and A.J. sit seriously on the couch as Chris enters with Cecilia. Chris is towel-drying her hair and is wearing fresh clothes. She looks 300 percent better.

CHRIS

It feels good to be clean again.

A.J.

You said you had no money.

CHRIS

Yeah.

A.J.

What about this?

He points at the satchel. She blinks innocently.

CHRIS

What about it?

RICK

Do you know what's in here?

CHRIS

No.

A.J.

Seven hundred and fifty thousand dollars.

She reacts with surprise and lunges for the satchel. She opens it and stares at the contents. She looks at them, then sits down heavily.

RICK

Where did you get this?

CHRIS

I don't know. I've had it for as long as I can remember.

RICK

Why didn't you look inside? Didn't you get curious?

She looks very tired and ready to cry.

CHRIS

I'm sorry. I don't know. I don't know anything. When I was in the bathroom, I looked in the mirror, and I swear I had never seen that face before. I don't care about that thing. I just want to know who I am.

The brothers relent and Rick goes to her, giving her a comforting hand on the shoulder.

RICK

Sorry. I had to ask.

CHRIS

No, I'm sorry. I wish I could tell you everything.

A.J.

You said before you knew the newspaper was important.

CHRIS

Yes, but I don't know how.

A.J. reaches for the paper.

A.J.

The answer's in here somewhere.

INT. A.J.'S LIVING ROOM--DAY

A.J. sits at the table opposite Rick and Chris. They all have sections of the newspaper. Rick is looking at her as much as he's looking at the paper, and this does not escape A.J.

A.J.

Here's a story about a drug store robbery.

He looks at her hopefully. She shrugs.

CHRIS

I don't know.

RICK

Will you do me a favor? I don't want to call you 'Hey you.' Would you pick a name for yourself?

She smiles, then thinks.

CHRIS

Call me Chris. I like that.

Rick smiles.

RICK

Okay.

She smiles at him.

A.J.

I think I know how you knew Rick.

A.J. holds up a page of the paper, revealing a picture of Rick and Downtown Brown escorting a man in handcuffs.

A.J.

(continuing)

'Extortion Ring Foiled.'

Rick examines the picture with a smile.

RICK

One of my finer moments. Too bad you weren't there, A.J. Must've still been in the ladies' room.

A.J. looks at Rick sourly as Chris smiles.

A.J.

(to Chris)

You must have seen this and remembered his face.

CHRIS

I must have going through this a thousand times, trying to figure out what made me get it.

A.J.

What do you two have so far?

RICK

We have an obituary of Ralph Mead, the pistachio king. And Apricot Al got sentenced.

CHRIS

Apricot Al?

RICK

He's a jewel thief who used to hide gems in hollowed-out fruit.

CHRIS

(laughs)

I should've known California would have really weird crooks.

A.J.

You're not from California?

A.J. and Rick look at her intently as she thinks.

CHRIS

I never thought about that. Maybe I'm not.

RICK

Well, it's a start.

He smiles at her encouragingly. A.J. watches silently.

RICK

(continuing)

Tell you what, A.J., you go after the things in the paper and I'll take Chris around to see if anything looks familiar.

All three get up, Chris with the satchel. They leave.

INT. PLUSH OFFICE--DAY

DR. JOHN GUARD, a dignified man in his 50s with a flair for the dramatic, sits behind a large desk. The walls are covered with pictures of him either with dignitaries or giving medical assistance to refugee-type children. He is on the phone.

GUARD

... That's an excellent idea. The campaign is a perfect way to dramatize the plight of these children. ...Of course I'll be there. Save me a chair.

GEORGE MORTON, a sinister, erudite man in his 40s, enters the office. Guard acknowledges him with an apprehensive nod.

GUARD

(continuing)

(on phone)

Steve, I'm due in surgery. Let's talk again about this. ...Great.

He hangs up the phone and looks at Morton.

GUARD

Did you find her?

MORTON

Yes, but she got away.

GUARD

What about the money?

MORTON

She still has it.

GUARD

Damn.

MORTON

She left with two men. We got the license number. I don't know why she hasn't called in the troops yet.

GUARD

Morton, you assured me when all this started you were going to handle this in a civilized manner.

MORTON

Sometimes we have to play rough. You knew that.

GUARD

I wish I'd never gotten involved.

MORTON

It's too late to worry about that. You're in. And you've been seen.

GUARD

Do what you have to. Make it look like an accident. I don't want any more people involved.

MORTON

Remember, Doctor, we'll take out whoever we want. Her. The men she's with. You if we have to. I'll have a check run on that car. And then we'll do it. Our way.

Morton looks at Guard coolly, and Guard tries to calm down.

EXT. STREET--DAY

The Power Wagon goes down a street.

EXT. TRUCK--DAY

Rick drives as Chris looks out the window. She is hopeful, but sad. Rick looks at her with concern.

RICK

Don't be afraid to let out a yell if you see something that looks even a little familiar.

CHRIS

I know.

Rick sighs, and drives on.

SERIES OF SHOTS VARIOUS SAN DIEGO SIGHTS--DAY

Rick drives Chris around town. At each place they stop, she looks around but nothing comes to her. She shrugs to Rick apologetically and he smiles at her.

EXT. TRUCK--DAY

Rick and Chris drive down the highway. As they pass a new building going up near the road on an isolated site, she looks at it. She isn't sure.

RICK

Something?

CHRIS

I don't think so.

RICK

Want to stop and take a look?

CHRIS

No.

They drive on.

EXT. PARK--DAY

Rick and Chris are standing next to the Power Wagon. She looks around, then shakes her head.

CHRIS

I give up. I think I fell off a passing space ship. Nothing looks familiar.

She shivers.

RICK

You alright?

CHRIS

When I'm with you, at your brother's house, I feel fine. But outside like this, I feel so vulnerable.

RICK

Yeah. Being bushwhacked at a bus stop can do that to you.

He shifts uncomfortably as he searches for the right words.

RICK

(continuing)

Look, I know you said you didn't want to go to the police. But I don't think we can get anywhere if we don't talk to them.

She looks reluctant.

RICK

(continuing)

I've got a friend you can trust. He's the other guy in that newspaper picture.

CHRIS

Lieutenant Marcel Brown.

RICK

Town's alright.

She thinks for a moment, then shrugs reluctantly.

CHRIS

All right.

They get back in the truck and drive off.

EXT. SAN DIEGO POLICE HEADQUARTERS--DAY

INT. TOWN'S OFFICE--DAY

DOWNTOWN BROWN sits at his desk opposite Rick and Chris.

TOWN

(to Chris)

I hope you're not expecting us to figure this out right away. Finding missing persons is a slow business.

Chris nods.

RICK

We know.

TOWN

Alright. Do you think you're a missing person?

CHRIS

I'm not the one who's missing. It's everything else that's gone.

Rick reacts with sympathy.

RICK

Look, Town, can we just get on with it?

Town eyes Rick for a moment.

TOWN

Okay. There's no need to get excited.

Rick tries to keep his frustration quiet. Town stands up, and Rick and Chris follow.

TOWN

(continuing)

Let's go down to the bureau.

They go to the door.

EXT. MEAD ESTATE--DAY

A.J. gets out of his car and walks up the long driveway to the front door of the large house. He rings the doorbell, and MRS. RALPH MEAD, a woman in her 50s, answers.

MRS. MEAD

Yes?

A.J.

My name is Andrew Simon. I'm a private investigator. Are you Mrs. Ralph Mead?

MRS. MEAD

Yes, I am.

A.J.

Mrs. Mead, I'm sorry to disturb you now. But have you ever seen this woman?

He produces a Polaroid picture of Chris and gives it to Mrs. Mead.

MRS. MEAD

Does this have something to do with my husband?

A.J.

We're not sure. We're trying to find the identity of this woman, and there may be a connection with your family. Have you had any large cash transactions lately?

MRS. MEAD

How large?

A.J.

More than half a million dollars.

MRS. MEAD

Never. Ralph never used money for large purchases. He traded for everything with pistachios.

A.J.

(nonplussed)

Oh.

MRS. MEAD

We produce the best in the country. People always want them instead of money. Our Rolls cost half a ton.

A.J.

I see.

MRS. MEAD

And I've never seen your woman. Sorry. Anything else?

A.J.

No. And thank you.

MRS. MEAD

Anytime. Would you like some pistachios?

A.J.

Ah, no thanks, that's not necessary.

MRS. MEAD

You sure? We've got truckloads in here.

A.J. hesitates.

MRS. MEAD

(continuing)

Here.

She disappears for a moment and A.J. stands awkwardly. She appears again with a huge bag of pistachios and gives it to him.

MRS. MEAD

(continuing)

All yours.

A.J.

I can't take all these.

MRS. MEAD

You're doing me a favor. I can't stand them.

She smiles, and he shrugs.

A.J.

Thank you.

A.J. goes back to his car. As he gets in, the same nondescript sedan from the bus stop incident is waiting across the street. The sedan starts its engine as A.J. starts his car. A.J. pulls out into the street, and at a discreet distance the sedan follows.

INT. POLICE OFFICE--DAY

Rick, Chris and Town sit at a table with mounds of reports. They look a little overwhelmed. Chris sighs tiredly.

CHRIS

I can't read anymore. This is so depressing.

TOWN

Yeah. There are a lot of missing people in the world.

Rick perks up as he reads.

RICK

Wait a minute.

He looks at Chris with anticipation, then deflates.

RICK

(continuing)

Wrong eye color.

Rick tosses the report on the pile.

CHRIS

Now what?

TOWN

About the only thing left is the fingerprint you. And we'll do that only at your request.

CHRIS

You're afraid I'm a criminal, aren't you?

TOWN

Let's just say your circumstances don't give me a lot of confidence. Carrying a mountain of bills, guys in sedans trying to grab you, you're not supposed to go to the police.

RICK

(gently, to Chris)

Do you think you might be?

CHRIS

I'm not sure. I don't think so.

TOWN

If you want, I can get your prints and send them over the wire. We should hear something in a day or two.

She nods with determination.

CHRIS

All right.

Rick smiles at her encouragingly.

EXT. A.J.'S HOUSE--EVENING

INT. A.J.'S KITCHEN--EVENING

Rick and Chris are in the kitchen, a wok on the stove before them. Chris is supervising Rick's attempt at cooking.

CHRIS

Now add the broccoli.

Rick puts the broccoli in the wok.

RICK

Now, I'll cook broccoli, but you better not expect me to eat it.

They laugh. A.J. comes in the door tiredly, the bag of pistachios under his arm. He stops dead in his tracks when he sees them in the kitchen.

A.J.

Well. I have seen everything. Rick, in the kitchen, with more than a can opener.

RICK

Very funny, A.J. Oh, Mom said that with Chris here and all, the farewell dinner will be a welcome back party instead.

A.J.

That smells good. What are you two making?

RICK

I think Chris is really a famous Chinese chef. Sweet and sour Pork, beef broccoli, egg rolls.

A.J. enters the kitchen and samples a fingerful of sauce as Chris scoops the food out of the wok.

A.J.

Hm, very good.

CHRIS

At least I can remember something.

Rick and Chris put the food on the table.

A.J.

Any luck?

RICK

No. We even went to see Town. We went through every file in that place. She's definitely not a missing person.

CHRIS

\-- That's been reported.

RICK

Her fingerprints are going out over the wire. We should get something in a day or two. What about you?

A.J.

Nothing. Oh, but I was tailed. I lost them.

They sit at the table.

A.J.

(continuing)

(to Chris)

Whoever you are, there's someone who'd like to find you.

CHRIS

Why don't I find that comforting?

RICK

Well, don't you worry. We'll take care of you. Have some rice.

Chris dishes out rice as A.J. admires the feast.

A.J.

This is wonderful.

(to Chris)

I hope while you're here you'll be a good influence on Rick. His idea of haute cuisine is fried chicken in a cardboard box.

RICK

(embarrassed)

Mr. Sophistication here.

Rick points to a plate of small, white buns.

RICK

(continuing)

(to A.J.)

Okay, Julia Child, go ahead and tell me what those are. Go on.

A.J.

Well, they're ...

RICK

Yeah? Yeah? What?

A.J.

They're ... Chinese ...

RICK

Uh-huh, just as I thought.

A.J.

Alright, you're such an expert -- what are they?

RICK

(suddenly blanking)

Well, they're ...

A.J.

Aha, hoist on your own petard.

RICK

Oh, come on, Chris, help me out.

She watches with a smile.

RICK

(continuing)

Ah, ah, something.

A.J.

Yeah?

RICK

(at the same time as Chris)

Char siu bow.

CHRIS

(at the same time as Rick)

Manapua.

RICK

(continuing)

No, they're char siu bow. We used to get them in Vietnam sometimes.

CHRIS

Char siu bow, manapua. Same thing.

A.J. looks at Chris with curiosity. She sees this and her smile fades.

CHRIS

(continuing)

Aren't they?

A.J.

Manapua. Rick, why does that sound familiar?

RICK

Yeah, manapua ...

A.J.

... Manapua ...

RICK

... Manapua, isn't that a volcano in Hawaii?

A.J.

No, that's Mauna Loa. Manapua, manapua.

(the light bulb flashes)

Hawaii. Rick, remember when we were in Hawaii and you saw that beat-up old ice cream truck?

RICK

Yeah, with "Manapua" written on the side --

A.J.

\-- And you said "Manapua" was a --

RICK

\-- Was a funny way to spell Good Humor.

They look at Chris seriously.

A.J.

Are you from Hawaii?

CHRIS

I don't know.

A.J. gets up from the table and goes to a bookshelf.

A.J.

I have an idea.

He pulls an atlas off the shelf and brings it back to the table. He sits and pages through.

A.J.

(continuing)

Here we go. Hawaii. I want you to say this name for me.

(reading with difficulty)

Kea... Keala ...

She doesn't even look at the map.

CHRIS

Kealakekua?

They look at her with some astonishment, then at each other. They smile encouragingly at her, and Rick pats her hand. She smiles.

INT. A.J.'S LIVING ROOM -- NIGHT

A.J. is putting away the last of the dishes as Rick comes in from the hall.

RICK

She's going to be alright. A good night's sleep and she'll be ready for a full day tomorrow.

A.J.

And what happens to St. Thomas? We're supposed to leave at 10 a.m.

RICK

You've got to be kidding, A.J. We're the only people she knows in the world. We can't just run off and say, "Sorry, we have to go on vacation now. Hope you get better while we're gone."

A.J.

(choosing his words carefully)

Rick, getting too involved with her is not going to help.

Rick glowers at first, then relents.

RICK

I can't help it, A.J. This really bothers me.

A.J.

So I noticed.

RICK

Can you imagine waking up one morning and knowing you've got a name and a life out there somewhere, but you can't find them? And you don't even know where to look?

A.J.

Yeah.

RICK

I can sure tell you, that scares the hell out of me.

A.J.

But we don't know anything about her. What if she does turn out to be ...

RICK

A crook?

A.J. doesn't respond.

RICK

(continuing)

She's special, A.J. I know she's not a criminal.

A.J.

It doesn't look very good.

RICK

We gotta try. 

A.J.

(after a beat)

I'll call the charter company in the morning. Maybe we can switch our tickets to another day.

RICK

Thanks.

He looks gratefully at A.J., who nods.

EXT. STREET OUTSIDE A.J.'S HOUSE -- NIGHT

The nondescript sedan sits ominously watching A.J.'s house.

END ACT TWO

SIMON AND SIMON

"Chang is Missing"

ACT THREE

INT. A.J.'S LIVING ROOM--DAY

A.J. is cooking breakfast as Chris watches the TV morning news. Rick maneuvers in sleepily.

A.J.

Good morning, sunshine.

Rick grumbles in response. Chris looks up and smiles.

CHRIS

Good morning, Rick.

RICK

Hey, watching TV before breakfast is bad for you. It makes your hair fall out.

A.J.

Take it from an expert.

Rick laughs a tired little laugh.

CHRIS

I've already been through the paper. Maybe there'll be something on the news that'll ring a bell.

She goes back to concentrating on the news. Rick looks at her for a moment, then turns to A.J.

RICK

Did you call the charter people yet?

A.J.

They're not open yet. I'll call again later.

RICK

What, Mr. Promptness is actually putting something off?

A.J.

I don't suppose you've packed yet.

RICK

There's no need to pack yet, is there?

A.J.

It wouldn't hurt to be prepared. That ace no-money-back charter may not comprehend the concept of changing tickets.

Chris lets out a shriek. Rick and A.J. sprint to her as she watches the TV, horror in her eyes. 

RICK

What is it?

She stares at the TV, and Rick and A.J. look. The picture is a news report showing the police searching through some brush.

TEMPLE HILL (V.O.)

...Found near the construction site. Police say they have not identified the victim, but he apparently was an Oriental male in his 20s or 30s.

The video shows a stretcher with a covered body being hauled up over a rise and put into an ambulance. Cut to TEMPLE HILL onscreen.

TEMPLE HILL

The body's grisly condition has led to speculation that the slaying was part of a vendetta, but police are refusing comment until they have more information. Temple Hill, Eyewitness News.

Rick and A.J. look at Chris, who is terrified.

RICK

That's the building you saw on the highway, isn't it?

A.J.

Chris, do you know that place?

RICK

Come on, try to remember.

She looks at the TV screen, shaking her head.

EXT. CONSTRUCTION SITE--DAY

The police are taking down their barriers and packing up as Rick, A.J. and Chris arrive. They approach SGT. LAWRENCE, a frowning plainclothes policeman who is supervising.

A.J.

Hi, sergeant.

LAWRENCE

Well, well, the Bobbsey Twins. What bring you here?

RICK

We were thinking about buying into the building. Getting into real estate.

LAWRENCE

That's cute. Glad to see you got some new material. Who's she?

A.J.

A friend. Mind if we look around?

LAWRENCE

We've finished. Just remember who let you in if you find anything.

Rick, A.J. and Chris walk past the police perimeter. Lawrence watches them with intense interest.

EXT. CONSTRUCTION SITE--DAY

Rick, A.J. and Chris are walking, Chris leading the way.

A.J.

Just let your mind go anywhere. Don't try to remember. Let it come to you.

Chris walks around, looking at nothing in particular. Rick and A.J. follow, also looking around but mostly watching her. She walks over a small rise and looks down at the foundation. She stops.

RICK

Anything?

She shrugs and walks down. They follow her until she comes around a corner and stops with a gasp. Rick and A.J. look, but nothing's there.

RICK

(continuing)

What is it?

CHRIS

(difficultly)

... They slit his throat.

She turns away from the spot unsteadily. A.J. looks around as Rick takes Chris by the shoulders.

RICK

Where, here?

She covers her throat with a cringe.

RICK

(continuing)

I know it's hard.

A.J.

There are no signs of a fight.

CHRIS

... I did it.

She turns away from Rick and goes back up the hill. A.J. has a lot of questions, but Rick cuts him off and follows her.

EXT. POLICE HEADQUARTERS--DAY

INT. HALLWAY--DAY

Rick, A.J. and Chris walk down the hall. In another area of the hall, Lawrence is dialing a pay phone. They do not see him, nor does he see them.

LAWRENCE

(quietly)

This is Lawrence. She was there. ... With the Simons. ... I don't know why. ... No, I couldn't get her. They'll have to.

He looks around surreptitiously, then hangs up.

INT. TOWN'S OFFICE--DAY

Town is staring at Rick, A.J. and Chris in disbelief.

TOWN

You've got to be kidding.

RICK

I know it's a little irregular.

TOWN

A little irregular. You want someone with amnesia to identify the body. You two have really outdone yourselves. Even I don't believe it.

A.J.

Town, she knows something about the murder. If she sees the body, she might remember.

TOWN

(to Chris)

Do you want to do this? Or are they talking you into it?

CHRIS

I want to.

Town thinks, then shakes his head.

TOWN

I can't get you in to see the body.

RICK AND A.J.

Town --

TOWN

No. It's definitely off limits. Besides, I couldn't even handle looking at it. Whoever killed him wanted him to stay dead.

RICK

Messy?

TOWN

The guy who did it was either a psycho or very, very angry.

They sit down.

RICK

What do you know about him?

TOWN

Oriental male, in his thirties. The only ID was a credit card in the vest pocket. Oahu State Bank.

A.J. and Rick look at Chris, who shrugs.

TOWN

(continuing)

The name on the card is Michael Chang, but we're still checking it out.

RICK

(to Chris)

Does the name mean anything to you?

She shakes her head pensively.

TOWN

We have a composite sketch.

Town looks at Chris, and she nods. He holds up a drawing of an Oriental man. She shudders and looks away, holding her throat. The three men look at her. Town puts away the drawing and Rick takes her hand.

RICK

What is it, Chris? Do you remember something else?

CHRIS

(shaken)

He died ... because of me.

She looks at Rick and A.J.

CHRIS

(continuing)

Something I did. I caused it. That's all I know.

Rick and A.J. share a look of concern.

EXT. CAMARO--DAY

A.J. drives as Chris and Rick sit beside him. No one is speaking as they go down a hilly road.

CHRIS

... I don't think this looks very good.

A.J.

Not really.

CHRIS

Somehow I'm responsible for that man's death. I just wish I knew how.

RICK

You'll remember.

A.J.

But do you want to remember?

CHRIS

Do you know what it's like being scared and not having any idea of what?

RICK

Alright, let's look at this logically. The money.

Rick points at the satchel, which Chris has in her lap.

RICK

(continuing)

Let's assume it's dishonest. Most people don't pack their briefcases with one hundred-dollar bills.

A.J.

Right.

RICK

Alright. What kinds of dishonest dealings involve this much money?

A.J.

Gambling ...

RICK

Major bribery ...

RICK, A.J. AND CHRIS

Drugs.

RICK

(continuing)

Alright, if you're dealing in drugs, how would you have the money?

A.J.

A buyer.

RICK

But then guys in sedans wouldn't be trying to grab her.

A.J.

A buyer who kept the money.

RICK

Or a courier who got greedy.

CHRIS

None of this sounds right. I don't feel like a drug dealer. Do I look like one?

She looks at Rick. A.J. looks at him.

A.J.

Do you want to tell her about that girls' school in Santa Lucinda or shall I?

CHRIS

Never mind. I don't want to hear about it.

A.J. looks in the rear view mirror.

RICK

Company?

A.J.

The sedan again.

RICK

Can you get the license?

A.J.

One, C, P, K ...

EXT. STREET--DAY

The sedan suddenly swerves and makes a beeline for them. It rams them convincingly.

EXT. CAMARO--DAY

A.J. almost loses control of the car, then swerves to avoid the sedan's next attack. Rick puts his arm over Chris.

RICK

Get down!

As Chris ducks, the sedan gets alongside the Simons and rams them from the side. A car approaches, and the sedan has to veer off for a moment. But it's soon back and A.J. looks over just in time to see the man in the passenger seat pull out a gun. A.J. ducks as the gun fires and a bullet whizzes overhead. The man in the sedan fires the gun again, and A.J. turns the car up a side road. The sedan makes a wide turn and follows.

EXT. SIDE ROAD--DAY

A.J. guns the car up the road as the sedan speeds after them.

EXT. CAMARO--DAY

Rick reaches into the glove compartment and pulls out the box of nails. He takes out a handful and throws them out the car window.

EXT. SIDE ROAD--DAY

The sedan roars towards the Camaro, but first one, then another tire blows. The sedan swerves and stops. A.J. and Rick look at each other in relief, then Chris sits up again. She looks back at the sedan, then at Rick.

INT. A.J.'S LIVING ROOM--DAY

A.J., Rick and Chris are outside the door.

A.J. (O.S.)

I'll never say anything nasty about your carpentry again.

A.J. opens the door, and the three enter. They stop in surprise. The house has been ransacked. They enter, assessing the mess.

A.J.

(continuing)

I'm tired of people taking out their frustration on my home.

CHRIS

They must have been looking for this.

She holds up the satchel. Rick goes to the table and sorts through the paper.

RICK

Uh-oh.

A.J. joins him.

RICK

(continuing)

A section of the paper's gone.

They go through the newspaper as Chris joins them.

A.J.

You're right. Section C is missing.

A.J. and Rick look at Chris, who doesn't look well.

CHRIS

I am very, very scared.

Rick puts an arm around her.

INT. PLUSH OFFICE--DAY

Dr. Guard is talking with his secretary, MARGARET. On the desk in front of them is the layout for a newspaper ad. The headline reads: "Is the Cost of This Newspaper Worth a Child's Life?"

GUARD

It's important that this headline grab the readers. I don't want anyone being able to turn the page without reading it.

There is a knock on the door, but before Margaret can answer the door opens and Morton slithers in. Guard stiffens.

MARGARET

(indignantly)

May I help you?

GUARD

That's alright, Margaret. I know him. You can go.

Margaret leaves with the ad.

GUARD

(continuing)

(angrily)

I told you never to come here during regular hours.

Morton tosses a section of the newspaper on Guard's desk.

MORTON

She knows who you are, Doctor.

Guard's eyes widen as he look at the paper.

GUARD

You haven't gotten her yet?

MORTON

A matter of hours.

Guard is on the verge of panic.

GUARD

No one must ever know what I've done. Do whatever you have to.

Morton's smile cuts like a knife.

MORTON

We will.

INT. A.J.'S LIVING ROOM--DAY

Rick sits on the couch next to Chris as A.J. hands her a cup of coffee.

A.J.

Feeling better?

She takes the cup.

CHRIS

Yeah. And I'm remembering more.

A.J. sits.

RICK

Like what?

CHRIS

I was in a car on a road like that. I was scared. Scared to death.

A.J.

And what happened?

CHRIS

I'm not sure. ... I think I fell out. Maybe pushed. Or jumped.

RICK

Did you have the money with you?

CHRIS

Yes. I remember grabbing it.

A.J.

Why?

CHRIS

Because it was important. Oh, while I'm thinking about it...

She puts the satchel on the floor and pushes it under the couch.

RICK

What are you doing that for?

CHRIS

They've already searched the house. They know we're not stupid enough to hide it here.

The PHONE RINGS. A.J. picks it up.

A.J.

Hello?

INT. TOWN'S OFFICE--DAY

Town sits at his desk with the phone.

TOWN

A.J., I traced those plates for you.

INT. A.J.'S LIVING ROOM--DAY

A.J.

Great. Who's car is it?

INT. TOWN

TOWN

Not great. The owner's a flunkie of George Morton, who is Mr. Bad News. Suspicion of murder, suspicion of drug smuggling, extortion and assault. Morton's a real suspicious kind of guy.

INT. A.J.

A.J.

Who is he?

INT. TOWN

TOWN

We think he's the head of a drug ring that's left a trail of bodies between here and the Orient. Half the policemen in the world are looking for him. It doesn't look good for Rick's friend if she's mixed up with him.

INT. A.J.

A.J. looks at Chris and Rick sadly.

A.J.

(to Town)

Any word on her prints yet?

INT. TOWN

TOWN

She's definitely not from California. No word from Hawaii yet.

A.J. (V.O.)

Thanks, Town.

TOWN

Oh, and A.J., you might like to know. Someone ran a check on your plates yesterday.

INT. A.J.

A.J. reacts with surprise.

A.J.

My plates?

TOWN (V.O.)

Someone inside the department. It was done unofficially, of course.

A.J.

The police department? Do you know who it was?

INT. TOWN

TOWN

No. But I thought you should know. Someone's after you.

INT. A.J.'S LIVING ROOM--DAY

A.J.

Thanks, Town.

A.J. hangs up the phone.

RICK

What's the matter?

A.J.

(to Chris)

Someone in the police department is in on this, too.

RICK

Well, whoever these guys are, there's something in Section C they don't want us to have.

They look at Chris.

EXT. SAN DIEGO DAILY BUILDING--DAY

INT. DAILY FRONT DESK--DAY

A.J., Rick and Chris walk up to the CLERK at the front desk.

CLERK

May I help you?

A.J.

We'd like a copy of Monday's paper.

The clerk reaches under the counter and produces a paper.

CLERK

That'll be fifty cents.

A.J. gives the clerk the money, then they move down the counter and open the paper.

A.J.

Here we are, Section C.

They crowd around the paper, looking eagerly.

RICK

Let's see... Hog farming in Missouri, how to pick strawberries, ...

Chris's hand shoots out and points to a picture on the page.

CHRIS

Him.

Rick and A.J. look, then scoff.

RICK

Are you kidding?

A.J.

Dr. John Guard? No way! He's the Albert Schweitzer of the 80s.

RICK

The man's built more hospitals around the world than you can count.

CHRIS

He's the one.

A.J. and Rick look at each other, then turn to Chris.

A.J.

Chris, no. I think you're remembering him the same way you remembered Rick. You saw his picture in the paper, and so he seems familiar.

CHRIS

No. I know he's the one. 

A.J.

It seems to me people with amnesia don't remember things the way you do. I don't think your memory loss is from the bump on your head. ... I think you don't want to remember.

Rick rankles at this.

RICK

What are you saying, A.J.? Are you accusing her of something?

CHRIS

Rick, it's okay. A.J., I understand your concern. A good detective questions everything. If you want, handcuff me to the kitchen door until my prints come over the wire. I may not know who I am, but I've figured out enough to know I'm alright.

A.J. looks a little chagrined.

A.J.

I'm sorry. I've never dealt with anything like this before.

RICK

(to A.J.)

You ought to be ashamed of yourself.

CHRIS

No, he's right. I might turn out to be the daughter of Fu Manchu.

They look at the article again.

RICK

Here we go. "Although Dr. Guard receives grants from national institutions, most of his day-to-day operating funds come from anonymous donors." I wonder if they're the 'three-quarters of a million in the briefcase' variety?

A.J.

No. I can't believe it. It's not possible.

Rick and Chris look at him, and his resolve fades.

A.J.

(continuing)

Is it?

EXT. PARKING LOT--DAY

A.J., Rick and Chris come out of the building and walk to the

Power Wagon.

A.J.

Do you remember anything else about Michael Chang?

CHRIS

I know I knew the man. And I know that wasn't his name.

RICK

It figures someone who can cook like you would know a man named Chang.

As they approach the wagon, three burly men appear from behind parked cars. The men are on top of the three before they know what has happened. They are quickly hustled into a waiting limousine.

INT. LIMOUSINE--DAY

A.J., Rick and Chris struggle to no avail with the large men as they are forced into the backseat. Sitting coolly opposite them is Morton. The burly men disarm Rick and A.J. Rick growls at his guard.

RICK

Love your aftershave. What is it, "Eau De Compost Heap?"

MORTON

(to Chris)

You're difficult to get a hold of. But I'm persistent.

Chris shrinks away from Morton when she sees his face.

MORTON

(continuing)

Where's the money?

She can't look at him and turns away.

A.J.

There must be some mistake.

RICK

Yeah, we ordered a cab, not a limo.

MORTON

(to Chris)

Will you shut your trained monkeys up?

RICK

How'd you like to digest your own shoe leather for a week?

Morton reaches over and pulls Chris's face around to face him.

MORTON

Where is it?

Rick grabs Morton's arm, but one of the goons quickly subdues him.

MORTON

(continuing)

Where?

The light flickers in her eyes as she looks at Morton again.

CHRIS

You killed Chris.

Rick and A.J. perk up and look at her. Morton smiles.

MORTON

He won't be the only one.

Morton signals the driver, and the car pulls away.

END ACT THREE

SIMON AND SIMON

"Chang is Missing"

ACT FOUR

EXT. STREET--DAY

The limousine travels down the street.

INT. LIMOUSINE--DAY

A.J., Rick, and Chris are sandwiched in between the two burly men as Morton sits in front of them.

CHRIS

You're never going to get away with this, Morton. By now they've IDed Chris. With him dead and me missing, you've about twenty minutes of freedom left.

Morton smiles. Rick and A.J. watch, trying to figure out what's going on.

MORTON

I don't know what you're up to. But you haven't called in the local police.

RICK

How do you know we haven't?

MORTON

I know. Besides, even if you have, you're going to be dead in about eleven minutes, and that gives me nine left to escape.

RICK

But what about the money?

A.J.

Yeah, what about the money? We're the only ones who know where it is.

MORTON

Some things can't be helped. Guard will be left holding the bag, not me.

RICK

Guard was your supplier?

MORTON

He was merely the carrier. Our people were on both ends.

RICK

I bet the customs people weren't too thorough when they searched that Mercy Ship of his.

A.J.

And for a cut of the profits, he could build a lot of hospitals.

MORTON

He had good intentions. It was easy to take advantage of them.

A.J.

But now it's over.

MORTON

Thanks to the good detective here.

Rick and A.J. look at Chris with surprise.

A.J.

Detective?

CHRIS

Don't sound so surprised.

RICK

You saw them make a deal.

CHRIS

We knew Morton, but we couldn't crack his system. I spotted him in Honolulu with someone we'd never seen before. And when the stuff turned up here, I was set up to be a free-lance supplier to find the missing link.

Morton smiles again.

MORTON

One of our many ears in the department discovered we were seen by a Michael Chang. It was really rather pathetic. They didn't stand a chance.

A.J.

Michael Chang?

RICK

(to Chris)

You mean ... you're Michael Chang?

She nods with a shrug. The car stops.

MORTON

Here we are.

EXT. CONSTRUCTION SITE--DAY

The doors of the limousine open and the burly men get out, followed by Rick, A.J. and Chris. Morton gets out and points to the foundation area of the half-completed building.

MORTON

Let's go.

The group walks up the slope.

A.J.

Don't you think it's a little obvious disposing of us in the same place as her partner?

MORTON

Not at all. You'll never be found.

RICK

Oh, no, not the old putting us in the foundation routine.

MORTON

It's been done, but it works. You'd be amazed how many people are passing eternity holding up buildings.

RICK

Just think of it as job security.

A.J.

(to Morton)

If you've got so many ears in the police department, how did you end up killing the wrong person?

Chris becomes uncomfortable.

RICK

(to A.J.)

Does she look like a Michael Chang to you?

CHRIS

Especially with an Oriental-looking partner named Chris Roberts. He knew I was the only witness, so he told them he was me. ... And he died in my place.

MORTON

And now it's your turn.

They stop above the building's foundation.

RICK

Well, I guess this is the time for your big plan. Okay, Chris, er, Michael, jump him.

Chris double takes for a confused beat, then frowns.

CHRIS

... Me? I did it the last time. It's A.J.'s turn.

A.J.

Oh, no. I just got this jacket. You do it.

RICK

Yeah, Ms. Detective. You do it.

CHRIS

What a couple of low-lifes. I'm in charge here. One of you has to do it.

The three converge in a squabbling circle.

A.J.

You're in charge? Look who got us into this mess!

CHRIS

If you'd done what I told you in the first place --

Morton impatiently signals to the two goons, and the two go to grab them. In a flash, the three turn and wallop the goons. Morton shoots, and one of his men drops. A.J. jumps on the other, and Chris turns to get Morton. She and Morton wrestle for his gun, and A.J. and Rick manage to overcome the other goon with great effort. Morton swings the gun around to wrench it out of Chris's reach, and it FIRES. Chris falls back with a look of great surprise. Rick has gotten his own gun back from a downed goon and shoots Morton, who falls. Rick and A.J. run to Chris and Rick frantically holds her up.

RICK

Are you all right?

Chris holds her side in pain.

CHRIS

... This smarts.

RICK

How bad is it?

CHRIS

Bad. I may have to give up bikinis.

Rick and A.J. react with relief.

INT. PLUSH OFFICE--DAY

Dr. Guard sits at his desk, on the phone.

GUARD

... Sure, Bob. ... The fundraising? It's been going better than expected. ... Yes. And I'll be sure to be there for the dinner.

The door opens quietly and Rick and A.J. appear.

RICK

I wouldn't make any plans for the next twenty years or so.

Guard is stunned, and stares at them as he hangs up the phone.

EXT. A.J.'S HOUSE--DAY

EXT. DECK--DAY

Chris sits at the table with Cecilia as A.J., Rick and Town stand.

CHRIS

After they grabbed us, they made me watch them kill Chris. I guess they wanted to terrorize me into telling everything the Honolulu police knew.

CECILIA

How horrible.

A.J.

No wonder you didn't want to remember.

CHRIS

They were taking me somewhere to work me over. Were they surprised when I grabbed their briefcase and ditched.

A.J.

So that was their money.

TOWN

The briefcase even turned out to belong to Guard.

CHRIS

They knew they had us, so they could be careless.

CECILIA

I still can't believe someone as respectable and generous as John Guard would transport drugs for criminals like that.

TOWN

We checked his operation out. Donations had been dropping off. It seems helping refugee children isn't fashionable this year.

RICK

The one thing's that's been bothering me is the credit card. How come your partner had your card?

CHRIS

(sad smile)

I was going to pay for lunch before we met Morton, but Chris insisted on paying and took my card away from me. And when we got rid of all our ID ...

RICK

He forgot about the card.

CHRIS

Yeah.

CECILIA

What I don't understand is why your Japanese partner was named Roberts and your name is Chang.

CHRIS

You don't know Hawaii. Most of Chris's family is Japanese, but his grandfather was from Wisconsin.

RICK

Yeah, but your grandfather isn't from Canton.

CHRIS

No. But my husband's grandfather is.

Rick shudders but tries to hide it. A.J. notices but says nothing. She holds her side.

CHRIS

(continuing)

I'm in for it when I get home. Brian made me promise never to get hurt.

RICK

(trying to hide the hurt)

If he doesn't understand, we'll take care of him for you.

Town looks at his watch.

TOWN

It's about time to get going.

Chris stands up, helped by Town and Rick. She picks up a cane and leans on it as jauntily as her sore side will let her.

CHRIS

Whaddya think?

A.J.

Very chic.

RICK

You may start a trend.

She looks at the Simons.

CHRIS

Thank you. All of you. This may sound trite, but I owe you my life.

She hugs Cecilia.

CECILIA

You're more than welcome.

She hugs A.J.

A.J.

Ah, the best part of the job.

She goes to Rick, and they both become a little self-conscious.

RICK

I never told you. You've got a great left hook.

She smiles.

CHRIS

You ought to see my combination punch.

RICK

... We could've made quite a team.

She smiles again.

CHRIS

I know.

She kisses him on the cheek. She turns back towards Town as A.J. smiles at Rick. As Town and Chris get to the doorway, she turns.

CHRIS

(continuing)

You have an open invitation to visit. I know the best beaches on all the islands.

Town and Chris go through the door.

A.J. AND CECILIA

Goodbye.

RICK

(quietly)

Aloha.

Town and Chris are gone. Rick suddenly turns to A.J.

RICK

(continuing)

A.J. Beaches. I almost forgot. St. Thomas.

A.J.'s eyes widen and his mouth falls open in dismay.

A.J.

Oh, Rick.

RICK

When did you reschedule us for?

A.J.

Oh, Rick.

RICK

What's the matter? Didn't you ...

A.J. looks like a mouse just died in his suit.

RICK

(continuing)

(storm clouds gathering)

Tell me you called the charter company.

A.J.

With all the excitement, and the police reports and all ...

Rick moves towards A.J. ominously.

RICK

You didn't call before the plane left. That means we forfeit our fare. No refund. Nothing. Zippo.

A.J. begins to move away and Rick follows.

A.J.

Well, you're the one who said you were supplying the trip. Why did I have to call?

Rick growls as A.J. keeps ahead of him.

A.J.

(continuing)

Calm down, Rick.

RICK

You know what I'm going to do when I catch you, A.J.? I'm going to lock you in the nearest ladies room and throw away the key!

Freeze on Rick making a move at A.J.

FADE OUT

THE END


End file.
